Full of morally flawed characters, and shot in grainy desaturated colours, Steven Spielberg's Minority Report is futuristic film noir with a far-fetched B-movie plot that's so feverishly presented the audience never gets a chance to ponder its many improbabilities. Based on a short story by Philip K Dick, the film is set in the Orwellian near-future of 2054, where a trio of genetically modified "pre-cogs" warn of murders before they happen. In an SF twist on the classic Hitchcockian wrong-man scenario, Detective John Anderton (Tom Cruise) is the zealous precrime cop who is himself revealed as a future killer. Plot twists and red herrings drive the action forward, and complications abound, not least Anderton's crippling emotional state, his drug habit, his avuncular-yet-sinister boss (Max Von Sydow) and the ambitious FBI agent Witwer (Colin Farrell) snapping at his heels. Though the film toys with the notion of free will in a deterministic universe, this is not so much a movie of grand ideas as forward-looking ones. Its depiction of a near-future filled with personalised advertising and intrusive security devices that relentlessly violate the right of anonymity is disturbingly believable. Ultimately, though, it's a chase movie and the innovative set-piece sequences reveal Spielberg's flair for staging action. As with A.I. before it, there's a nagging feeling that the all-too-neat resolution is a Spielbergian touch too far: the movie could satisfactorily have ended several minutes earlier. Although this is superior SF from one of Hollywood's greatest craftsmen, it would have been more in the spirit of Philip K Dick to leave a few tantalisingly untidy plot threads dangling. --Mark Walker